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致命錄像帶2
凱爾西·艾博特,漢娜·阿爾·拉希德,法赫里·阿爾巴,奧卡·安塔拉,Bette Cassatt為了尋找在派對中失蹤的大學生，兩名攜帶錄像設備的私家偵探闖入了一幢空房子，并在其中發(fā)現(xiàn)數(shù)卷神秘錄影帶：1）男人米德爾頓植入了能記錄影像和聲音的義眼，他在家中卻看到恐怖的影像；2）在國家公園叢林里騎車的麥克碰到一個滿身傷痕、嘔吐黑水的女人，接下來一群恐怖喪尸慢慢向他靠近。被喪尸咬了后，男子的身體漸漸發(fā)生變化；3）某劇組造訪一個神秘教派，天堂般美好的表象下，恐怖氣息蔓延，他們偏偏趕上魔王降臨人間；4）父母不在的湖邊住宅，孩子們放肆玩耍。夜深人靜之際，強烈的光芒突然閃過，神秘生物進入屋內，意外頻現(xiàn)。詭異的錄影帶，將觀看者引向黑暗深處……
字母殺手
艾麗莎·杜什庫,加利·艾爾維斯,湯姆·馬洛伊,蒂莫西·赫頓,邁克爾·艾恩塞德紐約，一名女童在登上一輛汽車后遇害身亡，女警梅根（艾麗莎·杜什庫 Eliza Dushku 飾）調查此案，她敏銳的意識到被害女童的姓與名以及案發(fā)地三者的首字母相同，但除此之外毫無線索，梅根為查案用盡辦法，然而卻一無所獲，反而梅根本人的精神壓力日漸累積，她開始看到被害女童的幻影，終于精力不支甚至選擇自殺，最后不得不接受精神治療。兩年后，再次有符合首字母規(guī)律的女童被害案件發(fā)生，此時的梅根不顧上司反對，再次介入調查，她和搭檔在排查多位嫌疑人的同時，這位針對女童的“首字母殺手”作案愈發(fā)頻繁。梅根究竟能否拼貼出兇手的真相？ 本片根據(jù)真實案件改編。
貝爾法斯特
裘德·希爾,凱特芮娜·巴爾夫,詹米·多南,朱迪·丹奇,塞倫·希德,科林·摩根,劉易斯·麥卡斯基,喬茜·沃克,弗蕾婭·耶茨,內薩·埃里克森,查理·巴納德,弗蘭基·黑斯廷斯,馬伊雷德·泰爾斯,卡奧蘭·麥卡錫,小伊恩·鄧尼特,邁克爾·馬羅尼,羅拉·麥克唐納,艾莉·康德倫,圖爾洛夫·科維里,杰拉德·霍蘭,康納·麥克尼爾,約翰·塞森斯,馬克·哈德菲爾德,克萊爾·阿什頓,薩克·霍蘭,歐拉·麥克唐納凱特瑞娜·巴爾夫、朱迪·丹奇、杰米·多南、塞倫·希德和新人裘德·希爾主演，講述1960年代末動蕩時期，一個在貝爾法斯特長大的男孩的故事。多南和巴爾夫飾演一對富有魅力的工薪階層夫婦，他們陷入了混亂局勢中，丹奇和希德飾演詼諧活潑的祖父母。
單身請開眼
馬里奧·毛瑞爾,Ploypailin Thangprapaporn,Kidakarn Chatkaewmanee,赫拉達奈·蘇萬納霍姆,Sriphan Chunechomboon,納查·佳塔潘,茉拉可·劉,Nakhorn Silachai,Sakonrat Woraurai想過自己為何會單身嗎？單身理由千百種，有人是因為愛抱怨，有人是因為太花心，也有人是因為太文青。但小琳（沛派琳丹拉帕彭 飾）的理由竟是因為「看得到鬼」。被甩之后，她決定收拾心情、揹起行囊，一人踏上失戀療傷之旅。小琳孤身前往泰北的丘媚潘步道療傷，因此遇見小普（馬力歐莫瑞爾 飾演），這個在感情和工作方面雙雙受挫的魯蛇編劇，為了尋找寫鬼片劇本的靈感，想找看得到鬼的人幫忙，兩個低潮的人意外相遇，并展開了一連串的冒險。
恐影檔案
Thomas Dekker,Robert Englund,Fiona DourifA doctor works to cure patients suffering from crippling phobias by placing them inside his invention which induces and controls hallucinations.
等待方舟
耶日·斯圖爾,克里斯提娜·楊達,卡里娜·謝魯斯克,馬里烏什·德莫霍夫斯基,馬雷克·瓦爾切夫斯基,揚·諾維茨基,亨里克·比斯塔,萊昂·涅姆奇克,克茲佐夫·馬扎克,斯坦尼斯瓦夫·伊加爾Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory? n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.